American Cinematographer - July 2014 - 18
Top left: Roberts frames a patron inside the bakery. Top right: Donna Siafakas owns the bakery.
Bottom: The filmmakers utilized a 12"x12" Rosco LitePad for fill light during an interview with
Donna's son, Dimitri.
though, the image needed to be digitally
pushed up to three stops in post. Shots of
the doughnuts being prepared in back
needed a particular boost. "We moved the
LitePad around, but it's very dark back there,
so to get a decent exposure we had to push
it in post," says Roberts. Haas adds, "What
was mind-blowing was how well the image
stayed together. All of this extra information
was there that we knew would have been
18
July 2014
lost had we shot DV or even HD."
Adorama provided the filmmakers
with valuable digital cinema storage and
helped them develop an offline post workflow, which incorporated the LightPost
transcoding software that is included with
the D16, as well as DaVinci Resolve for color
correction. "It's funny, because the workflow
for this camera is very similar to film," says
Haas. "You have your digital negative, which
American Cinematographer
you set aside, and then you have to make a
[digital] 'work print,' because if you were just
to take the DNG and make it uncompressed,
you'd need a supercomputer to edit it. So
we had our work print, and then we cut the
digital negative to match it all back. The
more we think we're advancing with digital
technology, the more it just reflects the old
workflow. We still call it 'footage!'"
After the initial coloring pass, Peter
Pan Bakery was accepted to the Brooklyn
Film Festival. In anticipation of its official
premiere, the filmmakers remastered the
film at Technicolor-PostWorks New York,
where colorist Sean R. Smith worked on a
Nucoda Film Master for a 1080p HDCam
deliverable.
Given the vérité nature of the project,
the shooting ratio was high, about 30:1,
"which you're more aware of when you're
shooting raw, because that storage space is
precious," says Haas. But since Peter Pan
Bakery is only eight minutes long, the
formula was acceptable. "It's great to be
able to shoot raw, because it's gorgeous,
and it really gives you a lot of options," Haas
adds. "But if I were to use this camera for a
longer vérité doc, I would wish it were a little
bit compressed, even 1.5, just to save on
space."
So far, Digital Bolex has reportedly
been very responsive to users' needs and
suggestions. "They really made a grassroots
effort to promote the camera," says Roberts.
"They took a lot of input from the
Kickstarter [backers] who had purchased
the camera, and that went into the
development process. It was very democratic, which you don't see with most camera
companies."
Peter Pan Bakery can be viewed at
www.peterpanbakeryfilm.blogspot.com. ●
http://www.peterpanbakeryfilm.blogspot.com
American Cinematographer - July 2014
Table of Contents for the Digital Edition of American Cinematographer - July 2014
Contents
American Cinematographer - July 2014 - Cover1
American Cinematographer - July 2014 - Cover2
American Cinematographer - July 2014 - 1
American Cinematographer - July 2014 - 2
American Cinematographer - July 2014 - Contents
American Cinematographer - July 2014 - 4
American Cinematographer - July 2014 - 5
American Cinematographer - July 2014 - 6
American Cinematographer - July 2014 - 7
American Cinematographer - July 2014 - 8
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American Cinematographer - July 2014 - 17
American Cinematographer - July 2014 - 18
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American Cinematographer - July 2014 - 33
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American Cinematographer - July 2014 - 36
American Cinematographer - July 2014 - 37
American Cinematographer - July 2014 - 38
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American Cinematographer - July 2014 - 42
American Cinematographer - July 2014 - 43
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American Cinematographer - July 2014 - 48
American Cinematographer - July 2014 - 49
American Cinematographer - July 2014 - 50
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American Cinematographer - July 2014 - Cover3
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